My work as a lamp and furniture designer has always featured the use of my own
photographs enhanced with the use of line work, printing, and hand coloring,
and also the use of photographs transferred and baked to glass, then enhanced
with the use of water color pencils.
Over the last two years the focus has extended, with workshops in solar printing. I enjoy using the single exposure technique because while it preserves a certain amount of detail, it also gives an element of abstraction, of areas where detail has been left out. Although these results are never quite predictable, they are usually exciting and give me ideas for the addition of line work added to the plate before inking, or texture during the inking process, or hand coloring after pulling the print.
Although I prefer printing in black and white, then adding colour with water colour pencils and tea washes, I have experimented with viscosity printing in my truck dreams series, which attempts to focus on the colour and poetry in truck drivers' lives.
My new series are collagraph and paper works, and include cacti prints and semi abstracts from my collection Within the Leaf. Some of the prints are pulled on a press while others are hand rubbed, a lengthy process which involves rubbing the back of the paper with a spoon. I also sometimes incorporate stitching and chine colle in my work.









